


Dungeons And Dragons After The Apocalypse

by Haberdasher



Category: Dungeons & Dragons (Roleplaying Game), Dungeons & Dragons - All Media Types, Good Omens (TV), Good Omens - Neil Gaiman & Terry Pratchett
Genre: Characters Play Dungeons & Dragons, Cross-Posted on Tumblr, Dungeons & Dragons References, Fluff, Fluff without Plot, Gen, Headcanon, Implied Relationships, Multi, Post-Canon
Language: English
Status: Completed
Published: 2019-11-03
Updated: 2019-11-03
Packaged: 2021-01-21 13:07:32
Rating: Teen And Up Audiences
Warnings: No Archive Warnings Apply
Chapters: 1
Words: 787
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/21299939
Author URL: https://archiveofourown.org/users/Haberdasher/pseuds/Haberdasher
Summary: The story of the Dungeons and Dragons campaign that emerges from the Apocalypse that wasn't.
Relationships: Anathema Device & Newton Pulsifer, Anathema Device/Newton Pulsifer, Aziraphale & Crowley (Good Omens), Aziraphale/Crowley (Good Omens)
Kudos: 40





	Dungeons And Dragons After The Apocalypse

Some months after the Apocalypse that wasn’t, the gang that had worked together to prevent it started up a Dungeons and Dragons campaign, though some are more able to play regularly than others.

For one thing, the Them are still busy with school, and with their usual small-town life, so it’s rare that they’re able to take the time to spend several hours playing, and when they _do _they often choose to come up with new characters for each session rather than sticking with the ones they’d played before. While their character choices vary wildly from session to session, a few patterns emerge: Adam never plays a tiefling or warlock, Pepper’s characters tend to specialize in Charisma and/or Intelligence, and Wensleydale shows a distinct propensity for minmaxing and rules lawyering regardless of his current character.

For another, Shadwell steadfastly refuses to touch the game. From what the others can make of his vitriolic, long-winded argument, he seems to have bought into the old theory that Dungeons and Dragons was somehow teaching children real magic and extrapolated further that the game literally turned its players into witches, a notion that Anathema’s familiarity with the game (and her having been the one to suggest it in the first place) does little to dispel. A number of discussions about how that’s not how witchcraft actually works, and that witchcraft isn’t always a bad thing for that matter, utterly fail to persuade him. Shadwell’s not playing.

Madame Tracy doesn’t share Shadwell’s refusal to play the game, but she’s not quite a regular, either, though she does stick with a single recurring character every time she’s able to play, a charming (and somewhat conniving) halfling bard that always manages to fit into current gameplay circumstances perfectly no matter how long it’s been since the last time she’s played.

This leaves the core group of Newt, Anathema, Aziraphale, and Crowley.

Newt gets roped into DMing. He’s reluctant at first, unsure if he’s up for being the one administering the rules when he’s still learning them as well, but he takes to it quickly enough. He manages to make a setting and campaign that’s fairly original, assisted by Anathema’s knowledge of the game and Aziraphale and Crowley’s mentions of how the usual medieval pastiche used for the games doesn’t entirely fit how medieval life _really_ worked back in the day.

Anathema plays an elf sorcerer, and she comes to the first session with a page and a half of notes about her character’s backstory, including a number of clear potential plot hooks for Newt to work with as the campaign develops. As they play, Aziraphale and Crowley make a number of statements of various levels of seriousness about how Anathema’s got an advantage because she’s the DM’s girlfriend, but in all reality, any advantage she has in the game is really because she, at least, has some idea what she’s doing, which is something her fellow players utterly lack.

Aziraphale plays a wizard, and he shows up to the first session with a literal novella about his character’s life up to that point, most of which would never be even slightly relevant to gameplay. Newt, to his credit, pores over what Aziraphale’s written and picks out several bits that might well come up later. Aziraphale’s character is bookish and awkward and not much of a people person, and nobody involved was the least bit surprised.

Crowley’s character didn’t come as much of a surprise, either, at least at first. Crowley went with a rogue, and when asked about his character’s past gave a few vague pointers that he refused to elaborate upon when prompted.

What _did_ come as a surprise was that, some sessions down the road, Crowley decided to multiclass into a bard.

(The fact that they already had a bard during some sessions courtesy of Madame Tracy made no difference to him. Crowley wants what Crowley wants, and a little thing like logic isn’t going to get in his way that easily.)

It’s an odd combination, having a character who alternates between sneaking around to avoid attention and putting on grand performance to gain attention, but Crowley’s character, not unlike his player, manages to pull off the combination handily.

As the campaign goes on, Crowley’s character writes a series of ballads about the exploits of Aziraphale’s character, ballads that suggest a more than platonic interest in the one being described, though where in-character romance ends and out-of-character romance begins nobody was entirely sure. (Anathema and Newt, however, privately agreed that it was adorable, in a weird, dorky sort of way.)

Both Aziraphale and Crowley play human characters. Nobody ever asks why; they know the reason well enough already at this point.

**Author's Note:**

> If you liked this, consider following me on tumblr at [haberdashing](https://haberdashing.tumblr.com/)!


End file.
